calls upon us to introduce to our readers one of the most valuable and
original contributions that have ever been made to the Philosophy of Art,
viz., Mr Hay’s work “On the Science of those Proportions,” &c. Mr Hay’s
plan is simply to form a scale composed of the well-known vibrations of
the monochord, which are the alphabet of music, and then to draw upon the
quadrant of a circle angles _answering to these vibrations_. With the
series of triangles thus obtained he combines a circle and an ellipse,
the proportions of which are derived from the triangles themselves; and
thus he obtains an infallible rule for the composition of the head of
ideal beauty.
IX.
In 4to, 16 Plates, price 30s.,
THE GEOMETRIC BEAUTY OF THE HUMAN FIGURE DEFINED.
To which is prefixed, a SYSTEM of ÆSTHETIC PROPORTION applicable to
ARCHITECTURE and the other FORMATIVE ARTS.
_From the Cambridge Journal of Classical and Sacred Philology._
We feel bound to pay Mr Hay a large and glad tribute of praise for
having devised a system of proportions which rises superior to the
idiosyncrasies of different artists, which brings back to one common type
the sensations of Eye and Ear, and so makes a giant stride towards that
_codification_ of the laws of the universe which it is the business of
science to effect. We have no hesitation in saying that, for scientific
precision of method and importance of results, Albert Durer, Da Vinci,
and Hogarth—not to mention less noteworthy writers—must all yield the
palm to Mr Hay.
X.
In oblong folio, 57 Plates and numerous Woodcuts, price 42s.,
AN ESSAY ON ORNAMENTAL DESIGN, IN WHICH ITS TRUE PRINCIPLES ARE DEVELOPED
AND ELUCIDATED, &c.
_From the Athenæum._
In conclusion, Mr Hay’s book goes forth with our best wishes. It must be
good. It must be prolific of thought—stimulant of invention. It is to be
acknowledged as a benefit of an unusual character conferred on the arts
of ornamental design.
_From the Spectator._
Mr Hay has studied the subject deeply and scientifically. In this
treatise on ornamental design, the student will find a clue to the
discovery of the source of an endless variety of beautiful forms and
combinations of lines, in the application of certain fixed laws of
harmonious proportion to the purposes of art. Mr Hay also exemplifies
the application of his theory of linear harmony to the production of
beautiful forms generally, testing its soundness by applying it to the
human figure, and the purest creations of Greek art.
_From Fraser’s Magazine._
Each part of this work is enriched by diagrams of great beauty, direct
emanations of principle, and, consequently, presenting entirely new
combinations of form. Had our space permitted, we should have made some
extracts from this “Essay on Ornamental Design;” and we would have done
so, because of the discriminating taste by which it is pervaded, and the
forcible observations which it contains; but we cannot venture on the
indulgence.
XI.
In 4to, 17 Plates and 38 Woodcuts, price 25s.,
PROPORTION, OR THE GEOMETRIC PRINCIPLE OF BEAUTY ANALYSED.
XII.
In 4to, 18 Plates and numerous Woodcuts, price 15s.,
THE NATURAL PRINCIPLES AND ANALOGY OF THE HARMONY OF FORM.
_From the Edinburgh Review._
Notwithstanding some trivial points of difference between Mr Hay’s views
and our own, we have derived the greatest pleasure from the perusal of
these works. They are all composed with accuracy and even elegance. His
opinions and views are distinctly brought before the reader, and stated
with that modesty which characterises genius, and that firmness which
indicates truth.
_From Blackwood’s Magazine._
We have no doubt that when Mr Hay’s Art-discovery is duly developed and
taught, as it should be, in our schools, it will do more to improve the
general taste than anything which has yet been devised.